When Ferdinand Magellan set out to circumnavigate the globe in 1519, he wasn’t able to bring a digital camera or a smartphone with him. Yet, as the eagerly awaited images from the Mars rover prove, modern exploration is inconceivable without photography. Since its invention in 1839, photography has been integral to exploration, used by explorers, sponsors, and publishers alike, and the early twentieth century, advances in technology—and photography’s newfound cultural currency as a truthful witness to the world—made the camera an indispensable tool. In Photography and Exploration, James R. Ryan uses a variety of examples, from polar journeys to space missions, to show how exploration photographs have been created, circulated, and consumed as objects of both scientific research and art. Examining a wide range of photographs and expeditions, Ryan considers how nations have often employed images as a means to scientific advancement or territorial conquest. He argues that because exploration has long been bound up with the construction of national and imperial identity, expeditionary photographs have often been used to promote claims to power—especially by the West. These images also challenge the way audiences perceive the world and their place within it. Featuring one hundred images, Photography and Exploration shines new light on how photography has shaped the image of explorers, expeditions, and the worlds they discovered.

Rediscover the world through some of the earliest travel photographs ever taken in this unrivaled collection of images that capture the excitement of travel and chart the evolution of photography. In the second half of the 19th century, unprecedented advances in technology resulted in the collision of travel and photography. Explorers were able to document their journeys, hauling enormous amounts of equipment over arduous terrain. The results were breathtaking. This collection of photographs takes readers on a historic global tour that includes five continents and offers a visible record of worlds long-since vanished. Beginning in North Africa amid the pyramids and along the Nile, this book takes readers down through the Sahara to South Africa via Cameroon, Ethiopia, and Zanzibar. The journey continues from South to North America, capturing images of the tribes near Cape Horn in Patagonia, an expedition down the Amazon River, the Panama Canal, Yellowstone Park, trains in New York City, and the Inuit tribes of Canada. The journey across Europe goes from Cologne Cathedral, over the Alps, down to Naples, via the Balkans through to the Ottoman Empire. The book concludes with images from Persia to Mongolia, along with Japan, India, Java, and ending in Australia. The 230 mostly duotone images include the works of William Henry Jackson, Felice Beato, Timothy O'Sullivan, Linnaeus Tripe, Samuel Bourne, and many others. Accompanied by expert commentary, these images shed invaluable light on the ways Western societies confronted and reimagined the world beyond their borders.

In this exploration of contemporary photography, David Levi Strauss questions the concept that “seeing is believing” Identifying a recent shift in the dominance of photography, David Levi Strauss looks at the power of the medium in the age of Photoshop, smart phones, and the internet, asking important questions about how we look and what we trust. In the first ekphrasis title on photography, Strauss challenges the aura of believability and highlights the potential dangers around this status. He examines how images produced on cameras gradually gained an inordinate power to influence public opinion, prompt action, comfort and assuage, and direct or even create desire. How and why do we believe technical images the way we do? Offering a poignant argument in the era of “fake news,” Strauss draws attention to new changes in the technology of seeing. Some uses of "technical images" are causing the connection between images and belief (between seeing and believing) to fray and pull apart. How is this shifting our relationship to images? Will this crisis in what we can believe come to threaten our very purchase on the real? This book is an inquiry into the history and future of our belief in images.

Getting a compelling shot in an abandoned structure is what urban exploration—or UrbEx—photography is all about. But that’s much easier said than done. UrbEx photography is one of the most challenging genres to shoot due to the dark environments, unpredictable circumstances, and various threats to one’s safety. Preparation is key and time can be limited for pulling off great shots. In Urban Exploration Photography, photographer Todd Sipes walks you through everything you need to know about composing, shooting, and processing photos of abandoned places. You’ll start with preparing for a shoot, including what to bring, what to wear, and when to go. Then you’ll dive into shooting with an in-depth look at composition, subject matter, and various techniques that can be used for different circumstances. After gaining a thorough understanding of how to shoot, you’ll get a detailed look at Todd’s post-processing workflow from start to finish using Adobe Photoshop and Lightroom, Google Nik Collection, OnOne Perfect Photo Suite, and more. You’ll finish off with complete walkthroughs of select images that you can step through using the author’s raw camera files. You’ll also learn: General guidelines for camera settings and gear How to shoot in the dark How to select the best subject matter What qualities of light to look for 32-bit HDR and luminosity masking How to bracket your shots How to avoid common mistakes Numerous other tips and tricks that will save you time in the field

Coinciding with the extraordinary expansion of Britain's overseas empire under Queen Victoria, the invention of photography allowed millions to see what they thought were realistic and unbiased pictures of distant peoples and places. This supposed accuracy also helped to legitimate Victorian geography's illuminations of the "darkest" recesses of the globe with the "light" of scientific mapping techniques. But as James R. Ryan argues in Picturing Empire, Victorian photographs reveal as much about the imaginative landscapes of imperial culture as they do about the "real" subjects captured within their frames. Ryan considers the role of photography in the exploration and domestication of foreign landscapes, in imperial warfare, in the survey and classification of "racial types," in "hunting with the camera," and in teaching imperial geography to British schoolchildren. Ryan's careful exposure of the reciprocal relation between photographic image and imperial imagination will interest all those concerned with the cultural history of the British Empire.

Exhibition itinerary : Santa Barbara Museum of Art, Jan. 29-May 31, 1998; University of New Mexico Art Museum, Oct. 13-Dec. 13, 1999; St. Louis Art Museum, Feb. 23-May 23, 1999.

A provocative exploration of photography's relationship to capitalism, from leading theorists of visual culture. Photography was invented between the publication of Adam Smith's The Wealth of Nations and Karl Marx and Frederick Engels's The Communist Manifesto. Taking the intertwined development of capitalism and the camera as their starting point, the essays in Capitalism and the Camera investigate the relationship between capitalist accumulation and the photographic image, and ask whether photography might allow us to refuse capitalism's violence--and if so, how? Drawn together in productive disagreement, the essays in this collection explore the relationship of photography to resource extraction and capital accumulation, from 1492 to the postcolonial; the camera's potential to make visible critical understandings of capitalist production and society, especially economies of class and desire; and propose ways that the camera and the image can be used to build cultural and political counterpublics from which a democratic struggle against capitalism might emerge. With essays by Ariella Aïsha Azoulay, Siobhan Angus, Kajri Jain, Walter Benn Michaels, T. J. Clark, John Paul Ricco, Blake Stimson, Chris Stolarski, Tong Lam, and Jacob Emery.